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Original Composition with a Critical Essay Exploring the Techniques Of "BEFORE I DIE…": ORIGINAL COMPOSITION WITH A CRITICAL ESSAY EXPLORING THE TECHNIQUES OF SIX CROSSOVER COMPOSERS Robert Trusko Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS August 2014 APPROVED: Kirsten Broberg, Major Professor Catherine Ragland, Committee Member Poovalur Sriji, Committee Member Joseph Klein, Committee Member and Chair of the Division of Composition Benjamin Brand, Graduate Advisor in the College of Music James C. Scott, Dean of the College of Music Mark Wardell, Dean of the Toulouse Graduate School Trusko, Robert. “Before I Die…”: Original Composition with a Critical Essay Exploring the Techniques of Six Crossover Composers. Master of Arts (Composition), August 2014, 106 pp., 5 tables, 22 examples, bibliography, 26 titles. Candy Chang developed a public art installation where people are given the opportunity to write their answers to "Before I Die I want to ________." in a public space. I created one of these walls in Denton, TX and set it to music in a 12 minutes and 42 second piece titled Before I Die..., which combines elements of South Indian carnatic music, gospel, R&B, jazz fusion, and minimalism. The composition was influenced by the music of several crossover artists Becca Stevens, Michael League (Snarky Puppy), Nico Muhly, Poovalur Sriji, Tigran Hamasyan, and James Blake. Crossover music, fusion, and third-stream are all synonymous terms used to describe music where multiple genres or styles are authentically combined. The purpose of this thesis is to examine the balance of musical elements in crossover works as well as how specific works composed by the artists mentioned have influenced the creation of the Before I Die... piece. Copyright 2014 by Robert Trusko ii ACKNOWLEDGEMENTS I would like to thank several people who have helped me make it through this project. To my friends who have shown me great music, support, and love. To all the musicians from the Before I Die… performances who put in hours of their time to learn the parts and the madness: thanks to Jimin Lee, Marion Powers, Gabby Byrd, Jordan Coffing, Isabel Crespo for their vocal talents; to Brian Handleland, Mark Hartsuch, Jonathan Mones, Seth Ely, Daniel Matthews, and Iver Sneeva for their skills on wind instruments; to the rhythm section Anthony Corsaro, Kelly Ebler, Daniel Porter, Nick Olynchu, Robby Blades, Kent Shores, Elliot Liebman, Ben Greenburg; and to the string players Cameron Rehberg, Russell Robinson, Michael, Thao, and Erin Rich. Thanks to the engineers Daniel Pardo and William de Alcuaz, to the videographers David Sowden and Nick Zebrun. Thanks to Will Huebner, Taylor Wimberg, and Raena McEuin for helping set up, move, build, and promote the wall. Thanks to my roommates past and present for dealing with my madness. A special thanks to Katie Troutman for editing, advising, encouraging me, and loving me through this entire process. Without you there would be no thesis. I would also like to thank my professor Dr. Broberg. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ................................................................................................................... iii LIST OF TABLES ................................................................................................................................ vi LIST OF EXAMPLES ......................................................................................................................... vii PART I CRITICAL ANALYSIS ............................................................................................................. 1 Introduction ........................................................................................................................ 2 Composer Backgrounds .......................................................................................... 4 A Word about Transcriptions .................................................................................. 7 Techniques Applied to Before I Die… .................................................................................. 7 Polyphony ............................................................................................................... 7 Parallel Meter and Phrasing .................................................................................. 14 Applying Mora ....................................................................................................... 18 Rhythmic Stratification in Snarky Puppy’s Flood .................................................. 18 Feel and Groove .................................................................................................... 20 Metric Subdivision ................................................................................................ 22 Gospel Influence: Implied Harmonic and Rhythmic Elements ............................. 23 Pacing in Snarky Puppy’s Flood ......................................................................................... 27 Familiar Material ............................................................................................................... 29 Expanding Accessibility ..................................................................................................... 33 Snarky Puppy Marketing Method ......................................................................... 33 Marketing Model for Before I Die… ...................................................................... 34 Reaching a Wider Audience .................................................................................. 34 Discussion of Authenticity ................................................................................................ 35 Friends not Hired Players ...................................................................................... 36 Communal Effect................................................................................................... 37 Conclusion ......................................................................................................................... 38 Appendix: Extended Musical Examples ............................................................................ 40 Bibliography ...................................................................................................................... 49 iv PART II MUSICAL SCORE ................................................................................................................ 51 Instrumentation ................................................................................................................ 52 Performance Notes ........................................................................................................... 52 Before I Die… ..................................................................................................................... 53 v LIST OF TABLES Page Table 1: Rhythmic Groupings in Becca Steven’s Weightless ........................................................ 16 Table 2: Harmonies from Snarky Puppy’s Flood, B Section (1:56-2:51) ....................................... 25 Table 3: Harmonies from Snarky Puppy’s Solo of Second A Section (3:20-4:21) ......................... 25 Table 4: Formal Structure of Flood ............................................................................................... 28 Table 5: Chord Comparison of m.154-161 and m.174-189 in Before I Die… ................................ 33 vi LIST OF EXAMPLES Page Example 1: Opening of Nico Muhly’s Mothertongue Melodyne Analysis ...................................... 8 Example 2: Opening of Before I Die… Melodyne Analysis ............................................................. 9 Example 3: Before I Die… Canon (m.128-145) .............................................................................. 11 Example 4: Transcription of Becca Stevens’ Hocket (2:06) .......................................................... 12 Example 5: Before I Die… Polyphony (m.206-213) ....................................................................... 13 Example 6: Carnatic Groupings in 7/4 .......................................................................................... 15 Example 7: Carnatic Shapes in 7/4 ................................................................................................ 16 Example 8: Tigran Hamasyan’s Road Song Phrase Groupings ...................................................... 17 Example 9: Tigran Hamasyan’s Road Song Phrase Groupings Part 2 ........................................... 17 Example 10: Carnatic Rhythms and Mora in Before I Die… .......................................................... 19 Example 11: Transcription of Drum Machine in James Blake’s Unluck ........................................ 22 Example 12: Drum Machine Part in Before I Die… ........................................................................ 22 Example 13: Before I Die…. Keyboards (m.206-213) .................................................................... 26 Example 14: Before I Die…. Keyboards (m.314-325) .................................................................... 26 Example 15: Before I Die…. Keyboards (m.266-273) .................................................................... 27 Example 16: Before I Die…. Keyboards (m.105-111) .................................................................... 27 Example 17: Comparison of Lines in B Section and Drum Solo of Flood ...................................... 28 Example 18: Transcription of Middle Section (1:55) of Tigran Hamasyan’s Road Song..............
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